Monday, 20 January 2014

All her work from the end of 2001 and throught 2002 shares a preoccupation with wondering about the support of the image throught the use of a work tecnique based on the collage and the feedback of different processes. In her previous work the images were conceived with a plain collage approach, this did not affect the purly photographic final presentation. In the present work the formal construction of the images posed as related fragments is made very clear. Pieces of paper with digital prints, transfers on the photographic emulsion, imprints on different su pports, make the image acquire a technical depth in keeping with its visual complexity.

Sunday, 19 January 2014

"Nonetheless, almost all of her photographs are charged with warm tones; a frecuenntly impulsive sensuality with clearly romantic undercurrents that lead to her to propose drastic alternatives, vacillating between passion and cool distance. She insists on aproaching her portraits in extreme closeups, but so close that the detail becomes blurred and perception modified. This effect lead us to compare her works with the portrait series "Reserves" by Boltanksi, or Barbara Essand and Cindy Sherman, María José Gómez Redondo shares a love for emotional settings, although Redondo opts for more internalized, less Theatrical formulas, and even for viewing some of her series thought dream-like eye.

It would be wise, however, to avoid the surrealist temptation of referring to the onioric. Although Redondo likes contrats, superimpositions and images that would make more than one surrealist feel at home. And although she does elongate forms and figures producing effects similar to the "meltings"so typical of the Breton group, she contrast them against blue skies and filmy clouds, imposing an entirely different philosophy then the surrealist. Irony does not figure in Redondo's work. It is a much more transparent exercise where evocation of memory and an instinctive sensuality seem almost to vibrate. Perhaps because she appoached them from a view removed from time, a narrow reduction meant to restore mystery."

Face
For the person who makes a self_ portait, the face is the recognition of that's not seen. The "I" searches for traces of itself: thought earlier portraits, in mirrors, or in faces thet resemble it, family faces. Through empathy, the child reponds to the mother's smile; imitating her gesture, the child interprets the face of the person close at hand. Through empathy, when we take someone's picture, we project our own physiognomy onto their faces.
Every time I've photographed other faces they've seemed similar to mine; this was a accidental discovery, not something I searched for, and now I have proposed to take it as my theme. I cannot photograph my face because I can't see my face. I have to resort to the traces of the others: I look al myself in the pictures others have made of me, in the mirror, or in the faces of others.
Two elements define the identity of a face: the features and gestures.
These elements are interrelated: the movement involved in the gesture modifies the form of the features, and the features, in turn, limit the possible movements and gestures, which are summed up or reduced to the instant by the photograph.

Trace: the shadow in our dark side 1993

The face offered to the portraitst communitates, constructs its own self by itself, trasmits identity. In contrast, the face that confronts the camera as object (photographing itself, or submitting to the picture taken in an automatic booth) pays no attention to itself, but to mechanism.

Sex: The change of seasons affects us 1993

OBJECT

I define my identity though objects, though my relationship with them: I chosse them (I collect things that I find on the ground along the route I take daily, several times a day, on the way from my house to the laboratory where I develop my photographs). They project their meaning onto me. These things are whithout value, object converted into "materials" that are rescued by the fact that I chose them. Photographing them and including them in the contex of my self-portait allows me to see them in another way.

Face: We do not recognize our tracks, 1993

THE HAND

By showing our hand we show our identifying signs. Unlike my face, my hand is visible to me. However, I don't recognize its signs, authentic proof of identity. The palm of my hand joins together the signs of my identity and the signs of the passage of time.

I show the things I've collected with my hand, and the hands, in turn, are shown as objects (the hand, deprived of motion, showing itself). Rmoved from their usual contex, they acquire a symbolic value. Placed in a familiar setting, they become part of a concrete situation.

Place of our birth: The dream is what we see with eyes closed, 1993

DARKNESS

Black space represents the invisible (in the theater, whatever the spectators are not supposed to see is paited black).

In my self-portaits the background area is the area without any sign, not imprinted. The background, even thought non-existent, acquiresweight.

Darkness creates closed spaces. It turns photography into a setting where a unique situation is revealed.

APERTURE
OPTICAL ALLUSIONS: NEW PERSPECTIVES IN SPANISH PHOTOGRAPHY
NUMBER ONE HUNDRED FIFTY-TIVE SPRING1999

The Spanish Vision: Contemporary art Photography.
The Spanish Institute. New York 1990

"María José Gómez Redondo uses appropiations, double exposures and montages to create a dream-like work in wich no monster are allowed. In the series of her photographs in The Spanish Vision, she depicts the five senses, leaving the "six" sense to be deduced from these depictions _ and the one wich forms a part of her technique along with the other, more apparent ones.